Artipedia - Arts News

Frieze

The
Cartier
Award 2008: Call for applications
http://www.frieze.com

The Cartier Award for emerging artists living outside the UK is a major initiative by Frieze Projects, the curatorial programme of Frieze Art Fair, in collaboration with Gasworks and sponsored by Cartier. Artists are invited to propose a new work to be realised at Frieze Art Fair 2008 which will be produced under the auspices of Frieze Projects. Projects may take the form of site-specific installation; performance; film; video and print work.

The Cartier Award includes:
- 3 month residency at Gasworks from mid September to mid December 2008 including accommodation, per diems and travel expenses
- Project production costs of up to 10,000 pounds
- An artist’s fee of 1,000 pounds

The selection committee for 2008 is:
Neville Wakefield (Curator, Frieze Projects)
Hervé Chandès (Director, Cartier Foundation for Contemporary Art)
Mia Jankowicz (Residency Curator, Gasworks)
Richard Wentworth (Artist)

The Cartier Award is open to non UK based artists within 5 years of graduating from an undergraduate or postgraduate degree.

Please visit http://www.frieze.com for more details and access to the online application form. The deadline for applications is Friday 7 January 2008.

Gasworks is a contemporary arts organisation in South London housing 12 artists’ studios and presenting a programme of exhibitions, residencies, international fellowships and educational projects.

Cartier has a long-standing relationship with contemporary art. Twenty two years ago the company established the Cartier Foundation for Contemporary Art in Paris — a unique example of corporate patronage for contemporary art.

Cartier is the Associate Sponsor of Frieze Art Fair supporting Frieze Projects and the Cartier Award.

Frieze
3-4 Hardwick Street, London, EC1R 4RB, UK
http://www.frieze.com

La maison rouge

Leonid Sokov, Staline and Monroe, 1991,
Courtesy Tretiakov Gallery, Moscow.

Sots Art
Political Art in Russia from
1972 to today
until January 20th 2008
la maison rouge
10 bd de la bastille
75012 Paris, france

http://www.lamaisonrouge.org

The exhibition Sots Art retraces the development of a movement which, from the early 1970s and in the wake of Socialist Realism, would stand out as the first original art movement in Russia since the 1920s avant-garde.

The term was coined in 1972 by two Moscow artists, Vitaly Komar and Alexander Melamid, as a take on Pop Art, “Sots” being a contraction of Socialism and Art.

Rather than the rejection and denunciation that motivated the first generation of Nonconformist artists, Sots Art follows a third way. It appropriates and subverts propaganda images and slogans to transform them into something that is both playful and grotesque. Through its irreverent use of symbols which, in their original context, were intended as a means of dominating the individual, Sots Art had a genuinely liberating effect on Soviet minds.

Following Komar and Melamid’s example, the term of Sots Art was then taken up by a group of artists which developed in the 1970s and 1980s around personalities such as Vagrich Bakhchanyan, Ilya Kabakov, Alexander Kosolapov, Leonid Sokov, Dimitri Prigov, Boris Orlov and the Nest Group. Sidelined from official exhibitions, they showed their work in their own homes which became venues for creation, exhibition and exchange for the Moscow avant-garde. This period is symbolised by the replica apartment at the entrance to the exhibition. Sots Art dominated plastic arts, architecture, design and film throughout the Perestroika years (1985-1991).

A wave of emigration in the second half of the 1970s took Sots Art beyond the USSR. Many artists moved to New York where they staged exhibitions and began to combine American and Soviet symbols.

Sots Art has proved to be a prolific trend not just within the Communist system but in societies which exert other forms of pressure, via the media and religion in particular. Russian art in the 2000s is a case in point, where comparable attitudes have emerged in the work of Oleg Kulik, the Blue Noses and the PG Group.

Curator of the exhibition: Andreï Erofeev
in partnership with the Tretiakov Gallery (Moscow) and the Foundation “Art Promotion Society” (Moscow) with the support of the Ekaterina Foundation (Moscow), the Novi Foundation (Moscow), ProLab (Moscow), Robert Vallois (Paris).

Opening days and times
Wednesday to Sunday 11am to 7pm
late-night Thursday until 9pm
closed December 25th, January 1st and May 1st

Press office: Claudine Colin Communication
5, rue Barbette — 75003 Paris
t: +33 1 42 72 60 01
contact: julie@claudinecolin.com

Portikus

Ben van Berkel, The Thing, 2007
MESO Digital Interiors, On Things Off Things On, 2007
production sketch

Ben van Berkel & the Theatre of Immanence

Opening: 24 November 2007, 8 p.m.
Duration: 25 November 2007 - 13 January 2008
http://www.portikus.de

The group exhibition Ben van Berkel & the Theatre of Immanence consists of an advanced installation designed by Städelschule professor of architecture Ben van Berkel together with Prof. Johan Bettum and Luis Etchegorry. The installation houses a series of works by artists and architects who have participated in the one-year long experimental project, entitled the Space of Communication, a project by the Städelschule Architecture Class (SAC). The participants in this project have been international architects and artists Asterios Agkathidis, Brennan Buck & Igor Kebel, Florencia Colombo, Dani Gal, Holger Hoffmann, Jonas Runberger and Gabi Schillig.

In addition, the Frankfurt-based design-technology group, MESO Web Scapes / MESO Digital Interiors, is providing an installation of advanced image projection entitled On Things Off Things On. Throughout its period, the exhibition will serve as a hub for various events and lectures.

This exhibition marks the end of the exploratory Städelschule-project the Space of Communication where various aspects of the contemporary conditions of social interaction and communication have been investigated. While some of the projects inherently engage with new electronic technology, some take it for granted and others merely reflect upon it in a distant fashion. Common to all the projects is that they address the social and inter-relational aspects of communication or spaces of communication. In this manner the projects insist on the relevance of art and architecture to which new technology can only add but not change the basic missions or functions. The investigations have been guided by a series of invited specialists, first and foremost professor and architectural theorist, Sanford Kwinter (Rice University, Houston), and artist and professor Peter Hagdahl (Royal Academy of Arts, Stockholm).

The exhibition Ben van Berkel & the Theatre of Immanence presents an advanced shape projection design on architecture. MESO Digital Interiors’ installation On Things Off Things On activates the structural surface of the installation. In this manner, it is also a very ambitious case study in augmented architecture, an attempt to create a reactive surface of extraordinary spatial complexity. The built structure inside the Portikus is illuminated by multiple precisely matched digital projections that both enhance and obscure the physical objects, adding information and disinformation, atmosphere and detail, playing on topics of presence, absence, body, and volume.

For further informations on the hithero course of the Space of Communication and for the upcoming events program, please see: http://www.staedelschule-onlinegroup.org/

For further information and guided tours, please write to: info@portikus.de

The exhibition and the previous project the Space of Communication have received generous support from Deutsche Telekom.

Thanks for support goes also to:

Vitra., Koninkrijk der Nederlanden, and Heinz und Gisela Friederichs Stiftung